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List of interviews

Features an the following lists of interviews

238. John Stevens, drummer/percussionist
254. Evan Parker, saxophonist
271. Paul Rutherford, trombonist
281. Derek Bailey, guitarist
291. Eddie Prevost, drummer/percussionist
305. Keith Rowe, guitarist
307. Maggie Nicols, singer
316. Phil Minton, singer
320. John Russell, guitarist
326. Fred Frith, guitarist/multi-instrumentalist
335. Steve Beresford, pianist/multi-instrumentalist
346. Paul Shearsmith, trumpeter
352. Roberto Bellatalla, bassist
360. Annie Whitehead, trombonist
368. Steve Noble, drummer/percussionist
373. Mick Beck, saxophonist
378. Steve Done, guitarist
383. Rohan de Saram, cellist
395. Roger Sutherland, percussionist/author
404. Marcio Mattos, bassist/cellist
411. Pete McPhail, saxophonist, flautist
416. Francine Luce, singer
423. Phil Wachsmann, violinist
433. Alex Ward, clarinettist, saxophonist, pianist
438. Louis Moholo, drummer.



A study of free, improvised music in London and its
practitioners. The dissertation is divided into a discussion
of different conceptions of the avant-garde with particular
reference to critical theory and post-modernism, and
transcribed interviews with musicians, making up an oral
history of free music. It includes material on the
historical development of the avant-garde and the histories
of jazz and contemporary composition. There are also
considerations of the specific problems of music and
language and the problem of methodology and elaborations of
the musical/cultural concepts of noise, listening and
silence, and also the idea of music as a form of prophecy.
The theoretical section outlines the pessimistic
cultural/musical theory of Theodor W. Adorno and also
discusses the work of Renato Poggioli, Peter Burger, Jacques
Attali, Ernst Bloch, Mikhail Bakhtin and Roland Barthes,
considering ways in which it is possible to go beyond
Adorno. It is proposed that the avant-garde be regarded not
as an element of elite or institutionalised culture but of
contemporary popular culture and that culture be understood
as a source of a polyphonic, dialogic diversity. Contra
Adorno, jazz is considered as one form which has
historically produced an avant garde and a multiplicity of
form. The prehistory and path of development of free music
are briefly considered an ideal-theoretical model of its
character as an avant-garde cultural activity proposed.
The open-ended oral histories and discussions with
musicians in the extensive appendices help reflect the
multiplistic character of the avant-garde and provide many
perspectives and discourses which support, conflict, and
counterpoint the arguments developed by the author.


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